Rogue One: A Star Wars Story - Michael Giacchino

12/17/16

What You Will Hear: Giacchino speaking with both his own instrumentation mixed with John Williams inspired moments. Classic themes are used sparingly and Giacchino adds a few of his own.

Standout Tracks: He’s Here For Us, When Has Become Now, Jedha City Abmush, Star-Dust, Confrontation on Eadu, Krennic’s Aspirations, Rebellions Are Built On Hope, Rogue One, Scrambling the Fleet, Your Father Would Be Proud, Hope, Jyn Erso & Hope Suite, The Imperial Suite, Guardians of the Whills Suite​Will You Be Humming Along? Yes – multiple new themes, plus a few nostalgic moments from the original themes.

Jyn Erso

Imperial Suite

Hope - listen to those first three notes....

The album this makes me want to dust off: The Force Awakens – John Williams and John Carter – Michael Giacchino​Will I come back to it? My initial response was no, but after a few more listens, I’ll definitely be coming back. To be frank, there are better Star Wars options out there, and better scores in Giacchino’s library. But, this score is quite an accomplishment when you consider it’s place in film history. It’s the first Star Wars without John Williams, and Giacchino has managed to answer a lot of fan hopes. (in 4 weeks, mind you!) Rogue One offers us new material written in his usual style, but also clearly uses existing Star Wars “vocab” all at once. There are moments where it almost sounds like Williams and Giacchino wrote this as a team. With fantastic use of orchestrations, chord structures, and even simple intervals, there are shades of every Star Wars era: original trilogy, prequels, and The Force Awakens. You’ll be enjoying some signature brass statement or lyrical flute reminiscent of the original trilogy, and then immediately be thrown into a wonderful Giacchino moment. It makes for an exciting trip through our history and modern practices. Academics aside, it’s just fun!

Jyn Erso’s theme is memorable, but was somewhat difficult to pin down melodically. I don’t know that it ever shows up exactly the same way twice. After a few trips through the Suite, however, it finally started to catch on. It isn’t instantly relatable and takes a few listens to enjoy, but once you get to know it, I think it fits in wonderfully with the great themes of the past (See: the final moments of Confrontation on Eadu, and Jyn Erso & Hope Suite). Erso isn’t a Skywalker or Rey, and this theme makes sure we know that. In addition to Jyn Erso, we are treated to a Hope theme. This material works wonderfully in quiet character moments (See: Rebellions Are Built on Hope) and in the big action sequences, as well (See the final moments of: A Long Ride Ahead). The first few notes are interestingly similar to the Star Wars main theme. There are other intervals and moments that seem born out of or are foreshadowing previous thematic material from John Williams. Make of it what you will; only Giacchino has the answers. The new Imperial theme is built around the Imperial March style and rhythmic ostinato (See: When Has Become Now, The Imperial Suite). I was supremely impressed by Giacchino’s ability to write a “cousin” to the Imperial March. While most composers probably wouldn’t have even thought of it or been willing to attempt it, he has hit a home run here. It is more militaristic in nature, perhaps lacking the heaviness of Vader’s footsteps. You don’t have to put it up “against” the original March. It should stand right next to it (if not just a little behind?) and you’ll hear a theme that works well as the “second in command” of the Empire. The use of original themes from John Wiliams is sparse. But, it’s no rarer than Williams’ own use of the themes in the prequels and Force Awakens. You’ll hear light doses of The Force, Main Title, Rebel Fanfare, the original Vader theme from A New Hope, and the Imperial March. Of these, The Force theme shows up most often. I was exctatic to hear the original Vader theme show up (See: Krennic’s Aspriations). I’ve always wished that material would have survived beyond the Imperial March, and now it has. My only complaint is how Giacchino uses (or doesn’t use) the Rebel Fanfare. This is a movie about the start of the rebellion that eventually blossoms in the original trilogy, and the Rebel Fanfare is barely used. It’s not something I understand. This started out as a compositional analysis. I was expecting to like it, but then immediately run back to John Williams. I was wrong. What began as a study, has quickly become total enjoyment. This is unmistakably a Star Wars score. It belongs. Michael Giacchino has (I hope) set a precedent for all future Star Wars films (sans Williams): “Do your thing, but respect the classics.” Rogue One is a perfect mix of what we love and what we will love.